It is later in the day, and Abraham did what the manager told him to do. He rounded everybody up and now the firm and caring manager is coming to meet them.
We see Mr. Rogas coming down a set of stairs. The stairs wrap back around 180° to it's left as it continues down. There could be another set of stairs, had we have wrapped back yet another 180° to the staircase's right. It is likely however that this is the bottom floor.
|On Closer Inspection...:|
|Mr. Rogas comes off of the steps. He passes by one door to his left before entering an opening in the concrete block, and begins walking down the red tiled floor of a service hall. The bottom trim is of the same rich brown veneer that the other floors possess, while the top is of an antique white color. The manager passes by another door, this set a double. The left door is shut while the right door is split into two halves. The top half hinges open, leaving the bottom half still latched. The bottom half contains a sill built on top, acting as a counter that separates the two spaces. There is a black, linen collection cart sitting on the right side of the hall, directly across from the countered door. There is another opening on the left, but it is just a cased opening, rather than possessing a door. There are employee timecards placed in slots built into a brown display shelf on the wall. There is also a blue housekeeping cart farther down the hallway. The hallway probably goes another 125 feet, but Mr. Rogas enters through the very next cased opening on the left.|
The camera is now on the inside of the room, fixating on Mr. Rogas as he opens the door.
The manager enters, and then makes sure to close the door, not being too loud. We are in the hotel's boiler room. There is a loud hum coming from the boiler's mechanical system - more than likely used by the staff to dilute the sounds of the staff's talking.
|The viewer doesn't yet know what the staff wants to do with Elaine, but as the
manager told the desk clerk to "Get the others" and the way they acted knowing she had visited the City
Engineer's Office, it sure seems that Elaine has done something horribly wrong, and now the staff is having to
meet in private to discuss the situation.|
The manager walks proudly and confidently in to where the staff that are in on this horrificness await.
|We see Abraham, our usually friendly and smiling desk clerk, Juli, our sweet
young hotel waitress and Letti Gordon, the service manager. We knew Letti was involved, and we kind of suspected
Abraham, with the way he acted about Mrs. Beecher's room change. But Juli? Hmmm...|
Letti, wearing a black sweater jacket atop a black with white polka dot dress, is the first to speak:
Letti: Okay, no more stalling, time to send her up.
|Oh, goodness! Letti must be talking about Elaine! Send her up? They have to
be talking about to the hidden/sealed off 13th floor. They must be talking about killing Elaine! This is
Mr. Rogas: Do you realize what you're saying?
|Right when we thought that it was just the four staff members present that
were responsible for all of the mysterious deaths, our favorite concierge, Judith Teller comes out of the
shadows, having been over closer to the fire in the boiler's steam producing chamber. Clad in a black blouse
beneath a light greyish tan suit blazer and matching miniskirt, the ever friendly concierge approaches the
manager, before going to her right, and taking a place to Abraham's right, on the left side of the
Judith: She's right, Mr. Rogas, we don't see that we have any
Judith says this as if the staff has been discussing this for quite some time... With Mr Rogas' black shoes
being his only tie-in, notice that all of the character's outfits contain black in some fashion.
Mr. Rogas values his reputation as much as he does the hotel. He asks the most logical question to ask:
Mr. Rogas: What do we say when they come looking for her?
Letti: We're just going to have to take that chance.
Judith watches Abraham. Abraham turns to Letti and speaks in the same soft-spoken voice we are accustomed to
Abraham: Wait a minute. So far we've been very careful.
We've only sent up people no one would look for.
|The viewer gains valuable insight into the minds of the hotel staff. There's
a floor in the hotel that has been sealed off, we know staff members are taking people up to the floor where they
are being murdered, and we know the whole staff is involved in the "crime". But if they are only "offing" people
who have nobody that will come looking for them, what they are doing can't be too bad, can it? Of course
it's bad, but we still don't know why the hotel is doing all of this... But we know that things aren't
looking too good for Elaine.|
Letti: Yes... but that's before Miss Somebody started digging in
our garden. Get it done. Put her in the elevator.
|Behind Letti, Juli, our young waitress looks extremely worried. She is
rubbing her head, as if to fight off a headache. Her tension looks to be building. Judith and Abraham listen to
Letti intently, for they know that she is right. Elaine's meddling could expose the hotel for wrongdoings and
potentially shut them down, if not get all of the staff members arrested. They must prevent this anyway they
can, and things definitely don't look good for Elaine.|
Mr. Rogas: But she doesn't really know what's going on.
Letti: Wake up, Jake. She's no dummy. It's just a matter of
|This is the first and only time that Mr. Rogas' first name is used. Letti
isn't being rude, using his name. She's just trying to get him to see the realization of the situation. The
exchange is indeed correct. Elaine really doesn't know what's going on. Not yet. But Elaine's inquizative
nature isn't going to let her stop until she finds "the truth". The staff do not yet know that she intends on
exposing them in a New York newspaper exposé, but if they were to know, they would definitely realize that
she is going to put two and two together... and they don't have much time.|
Judith: Letti is right, this is something that we have to take
care of now.
Abraham: Then we got big trouble. They'll be down on us like
a ton of bricks.
|Judith's facial expression hint a look of annoyance as she shifts her gaze
toward Abraham. It could be that his comment is rhetoric, yet it's a fact that needs to be
Letti: So what? By the time they find out, it'll be finished.
|It'll be finished? Something isn't right. What are they doing with the
people they are killing? Why are they killing them? What'll be finished? If it's finished, they obviously
won't need to work about the police finding out, so it has to be something bad, but what?|
Mr. Rogas: That's exactly why we can't risk it. We are so close.
We just have to wait. That's all. We just have to wait.
|Can't risk it? So close? Something definitely isn't right. The staff ponder
his words. Letti shakes her head in disapproval, and looks slightly annoyed. She knows he is right but they
also know that Elaine's digging is bound to get them into trouble, assuming they get caught before it's
finished. She looks as if she is about to comment, when the young waitress, whose tension has been building and
mounting, is now ready to snap. She decides she wants to pull out of whatever they are doing, and that she has
to do it now. Cutting ties with the rest of the staff would be the best thing for her. Unfortunately, being a
key witness/accomplice in all of this, the staff don't plan on letting her go anywhere. They grab ahold of her,
restricting and restraining her, right as she starts to make a mad dash for the exit. This is actress Juliana
Donald's longest and most heartfelt monologue:|
|The music rises in, very, very slowly and softly, as Juli speaks:|
Juli: I can't take it. Let me go! We're finished. If you put her
on the elevator they'll come looking for her and if you don't
she'll figure it out. Can't you people see? There's only one
thing to do. We gotta get out of here.
|Letti, probably upset that she and the rest of the staff just got referred to
as "you people", reminds the young waitress of a valuable point:|
Letti: But sweetie... there is no way out of here.
Judith: You knew that.
Juli: But we're protecting him, why isn't he protecting us?
Judith: It's a matter of faith.
|It is ironic that a character with a biblical name speaks of faith. Letti explains what she means, but more in agreeance rather than correction. They are both on the same side, and seem to work very good together, almost like sisters. In a way, they are like family, for not only do they work together, they help send people to their deaths on the 13th floor together, as well...|
Letti: You either believe, or you don't.
|Juli has become unneeded. She is now unnecessary and is more than likely now considered a hinderence. If Juli was to leave and possibly leak out information about what it is they are doing, it could be possibly be more dangerous than what Elaine could do. They can't risk it. They just can't take that chance. They have to do away with Juli, plain and simple... |
Mr. Rogas: Take her up.
|While sending Elaine up to the 13th floor might have been a hard decision for the hotel's manager to have to make, sending Juli up is not. She could be dangerous and her escape could be catastrophic, now that she is no longer on board with "the plan"...|
Juli: No! Don't!
|The music helps to display Juli's fear as all feeble attempts to escape are
compounded by older, stronger staff members..|
|Juli squirms like crazy as Judith and Abraham restrain her. While Letti stands innocently off to the Abraham's left, casually and nonchalantly finishing her cigarette, Judith grabs Juli's jaw, forcing it tightly against her head, muffling all of her desperate cries for help. Abraham grabs for her hands, restraining them as well. It is horrible for both Juli and the viewer. Both know Juli's fate, but Juli knows firsthand what it's like to send people to the 13th floor to be slaughtered, and now she knows that she is the one fixing to die - to cease to exist. She fights desperately to escape, to no avail. Her fate is sealed...|
|We are now looking down the desolate elevator shaft, watching the elevator. The music rises ominously as we see the elevator ascending from above, and as the camera pans counterclockwise towards the elevator door on the 13th floor, it blends in with "Ragtime Piano", playing on the 13th floor's infamous gramophone. |
Juli: No! No No!
|The elevator door on the 13th floor opens, and we see Letti next to the elevator's controls, with Abraham to her left, Juli to his left, and Judith to Juli's left. Juli's disapproval is muffled as Judith keeps her hand over Juli's mouth: |
Juli: No No No No No no
Judith and Abraham are still restraining Juli, but as Letti finishes pulling open the retractable metal gate, Judith and Abraham give Juli one big synchronised push. She lands square in the back right corner, flat on her knees. She is mortified and jumps up immediately, rushing for the elevator door. It has just gotten finished shutting, and Juli is trapped.
Juli: Don't leave me here, I promise I'll do whatever you say.
Open up, you hear!? Help me! Please! I promise I'll do-
|The next lines are vague, and seem to sound as if they say:|
Juli: Letti , Abraham! Please! Open up!
Juli: Oh, you can't leave me here. Please! Open up!
|The subtitles for Juli's dialogue in various translated versions, followed by their translations, are listed below:|
Juli: Nåo me deixem aqui. Prometo fazer o que quiserem.
Abram! Ajudem, por favor. Prometo! Abram, por favor!
Juli: Do not leave me here. I promise to do whatever they want.
Abram! Help, please. I promise! Abram, please!
Juli: Ikke gå fra meg. Jeg gjør hva som helst! Jeg tror pa det!
Juli: Do not leave me. I'll do anything. I believe in it!
|While the lines are a little hard to decipher, if Juli does indeed say "Abraham", then we have named the desk clerk correctly. The Portuguese version of this film, however, uses subtitles written in their native tongue. Their subtitles are generally very accurate on writing character's names, and in this scene Juli's dialogue mentions "Abram!" almost as if she is calling the desk clerk out explicitly. They do seem like they would have gotten along rather good together and it is almost like they are implying that she could trust the male desk clerk, more than the seemingly evil female employees. Unfortunately, [Abraham] can't, nor won't, save the poor waitress. |
|The camera cuts back towards Letti, Judith and Abraham. It is likely that
they haven't gone anywhere yet, and are just sitting outside of the door to the 13th floor. While pressing
another floor button would take them to another floor, leaving the 13th altogether, they are choosing to stay.
It is likely that they are sitting there, waiting for the sounds of her slaughter, to satisfy their own twisted
and sadistic fantasies...|
|A door is being opened somewhere down the hallway on the 13th floor and it is
producing a rectangular imprint of light onto the wall to Juli's right. In the light being cast, we can see the silhouette of a man
holding an axe. The man seems to be getting closer to Juli. Juli's attention is no longer on trying to get the rest of the staff to open the elevator door - now it's fixated on the man with axe coming towards her.|
|The man with the axe is now almost in front of Juli. Juli's initial response, upon seeing this man, isn't actually a look of fear or shock. She knows the killer, and she is coming face to face with him. It is an extremely ackward situation, as Juli has always been so nice to this gentleman... Now it doesn't matter. He is going to kill her anyway.
|The camera angle changes, fixating itself upon the back corner of the room. Through the light being cast upon the wall, we see the silhouette of the man with the axe again, but this time, his axe is raised, poised to strike.|
The camera cuts back towards Juli. There is no saving her. The audience is powerless to help out. With a loud hacking sound, the killer's axe meets the poor waitress...
Letti, Judith and Abraham stand, smiling sadisticly. They listen intently until silence overcomes them.
|Poor Juli. The young waitress marks the fifth death (Death #5) at the
hotel since Elaine has arrived, and marks (Death #13) on the hotel's current count...|
|The staff continue to smile. They seem to have gotten some sort of sadistic
thrill out of listening to the waitress being killed by an axe murderer, only 3½ feet away from
|Letti fires up a cigarette, right here in the elevator. She seems to be
enjoying a celebratory cigarette, as she seems to be delighted that they are getting "so close". It is possible, as most people feel the need to smoke after an enjoyable experience, that this is her "release".
Letti: Well, we're one closer.
Letti takes a deep draw off of her cigarette, seemingly content. Moral ramifications do not seem to bother the staff, as whatever it is they are trying to achieve, seems to be for a genuine and seemingly necessary purpose... whether it involves the taking of human lives, or not...
|The music fades out as the television version would normally go onto a commercial break. There will be no music when the film comes back on.|
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